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1.水 墨 晕 化 The tradition of Chinese ink painting is said to have started in the Tang Dynasty. Wang Wei once stated that “Ink painting is supreme," while Zhang Yanyuan wrote in Records of Famous Paintings Throughout the Dynasties, “Ink is used in five shades," with the five shades being "dark, concentrated, heavy, light, and clear" or "concentrated, light, dry, wet, and black." Some also include white paper as a shade, calling it the "sixth color." The core materials of ink painting are "paper, water, and ink," with the brush being an instrument. On the surface, the use of paper, brush, water, and ink is considered technique, but deeper contemplation reveals it to be a philosophy. Without philosophical cultivation, the creation and perfection of various techniques would not be possible. Therefore, technique is the result of philosophical nourishment, a point that has been recognized by the academic community and by artists. 从明代中晚期始，水墨花鸟画的兴起，笔迹水痕在晕化中突破了前人，出现“点墨”“破墨”之法，在徐渭的花卉图中呈现的尤为突出，特别清初八大山人的出现，以禅思入画使其水墨与青藤白阳水墨之内涵有所不同，开创了禅心画意冷逸之风格。晚清海派兴起，吴昌硕淋漓尽致地发挥了水墨的特性，使水墨在变化中更加丰富。 Starting from the middle to late Ming Dynasty, the rise of flowers and birds ink painting broke through the techniques of the past by using new techniques such as "dianmo- to dot with ink" and "pomo- to splash with ink" to create blurry strokes and ink marks. These techniques were particularly prominent in Xu Wei's flower paintings. In the early Qing Dynasty, the emergence of the "Eight Eccentrics of Yangzhou," including Shitao, brought a new approach to ink painting by incorporating Zen Buddhist ideas into their artwork, creating a style of cold and elegant painting. In the late Qing Dynasty, the “Shanghai school” emerged, and Wu Changshuo fully utilized the characteristics of ink to make it even more diverse and rich in variation.
齐白石的水墨运用堪称有化育生机，他笔下的虾更是将水墨运用推向了高潮，达到了境界。齐氏画虾先是将白云笔浸在净水中，笔尖调淡墨，使笔尖淡墨与笔腹清水相融，于融合恰当时卧笔将虾身写完，然后写螯足与附肢，虾体水迹在八分干时以浓墨复笔于虾头处，浓淡晕化呈现出虾头内若隐若现的物体，虾头复墨为整条虾子的点睛之笔，重墨点眼淡墨写须，这就是齐白石画水墨虾的全部过程。 Qi Baishi's ink use is best described as cultivated vitality. His depictions of shrimp are particularly noteworthy, and his use of ink in these works reached new heights of artistic expression. To paint shrimp, Qi would first soak his brush in clean water and then ink only the tip of the brush. This allowed the diluted ink to blend with the water on the brush’s body. When the blending was just right, he would lay the brush on the paper and use it to paint the shrimp's body. He would then paint the legs and other appendages. When the ink on the paper was about 80% dry, he would use thicker ink to add more detail to the shrimp's head, creating a subtle effect of the object being translucent within the shrimp's head. The final touch would be to add a dot of heavy ink to the eyes and draw the shrimp's antennae with lighter ink. This was the complete process Qi Baishi used to paint his shrimp.
潘天寿的笔墨早期受教于吴昌硕，后从八大中出，以圆化方，破含蓄内敛发展霸气刚猛，形成他独特的笔墨魅力，潘氏笔意理性胜于意趣，故点墨破法终未达到散淡，然亦有独到处。黄宾虹的笔墨境界在山水画中呈现，他的积墨与破墨法亦称二十世纪画家者之上乘，七墨论践行了他对水墨运用的实践与总结，当然这些都是在他山水画创作中完成的。 Pan Tianshou's early ink painting was influenced by Wu Changshuo, but he later developed his own unique style through the influence of the "Eight Eccentrics of Yangzhou," combining rounded forms with forceful brushstrokes to create a distinct charm. Pan's brushwork is characterized by rationality rather than interest, so while he did not fully embrace the techniques of "dianmo" and "pomo," he still had his own distinctive approach. Huang Binhong's ink painting, on the other hand, was primarily seen in his landscapes, and his mastery of ink and the "dianmo" and "pomo" techniques was considered among the best of 20th century painters. His "Seven Ink Theory" was the result of his practical experience and summarization of ink painting techniques, which he applied to his landscape paintings.
黄宾虹的笔墨是在层层叠叠中晕化，表现出的意趣无穷无尽，于水章墨韵中达到超越造化，追求人文境界之巅峰。黄宾虹的花鸟画创作，别开生面，意趣超然，于笔痕中表现出来的墨韵亦魅力无穷，水墨华滋是黄宾虹画迹之妙处。 Huang Binhong's brushwork is characterized by layer upon layer of ink, resulting in endless variations and nuances that surpass the natural world and reach the pinnacle of humanistic expression. In his flower and bird paintings, Huang Binhong's creativity was truly unique, with a transcendent quality that emanated from his brushstrokes, demonstrating the infinite charm of ink painting. The splendor of Huang Binhong's ink painting lies in the richness of his brushwork, which is both masterful and full of life. 水墨的化境，关键在于用水，水是化墨之灵魂。故懂墨要先懂水的使用。 The essence of ink painting lies in the use of water. Water is the soul of ink transformation. Therefore, in order to understand ink, one must first understand the use of water.
2.书 法 与 绘 事 书法与绘画的内在联系是中国美术史上最重要的命题之一。由于书法成熟得早，绘画受到了书法的影响，特别是文人画的出现，可以说书法是文人画的基础。唐代张彦远《历代名画记·叙画之源流》中有“书画同体而未分”之论。苏轼开创了文人画理论之先河，他认为绘画应成为一种表达艺术家情感的方式，而表达这种方式需要艺术家丰富的人文修养，在此，苏轼特别强调书法在绘画中的作用，抒情尚意是宋人书法独有的气质，与唐代严谨尚法完全不同。 The intrinsic connection between calligraphy and painting is one of the most important themes in the history of Chinese art. As calligraphy matured earlier, painting was influenced by calligraphy, especially with the emergence of literati (aristocratic) painting, which can be said to have been built on the foundation of calligraphy. Zhang Yanyuan's "Records of Famous Paintings Throughout Dynasties: On the Origin and Development of Painting" in the Tang Dynasty put forth the argument that "calligraphy and painting share the same body, and are not yet separated." Su Shi pioneered the theoretical framework for literati painting, arguing that painting should be a means for artists to express their emotions. He believed that this expression required a rich humanistic cultivation, and he emphasized the role of calligraphy in painting. The expression of emotion and sentiment is a unique quality of Song dynasty calligraphy, which differs entirely from the strict rules and regulations of the Tang dynasty. It is precisely because of this that Su Shi naturally incorporated calligraphy into literati painting, making it a fundamental skill that literati painters should possess for centuries to come. The term "brush and ink" (bimo in Chinese) emerged as an important standard for evaluating the quality of literati painting, and was used as a benchmark for its measurement. In the Yuan Dynasty, painter Zhao Mengfu proposed the theory that literati painting should focus on “interpretation" rather than "depiction," taking the use of calligraphy in literati painting to an even higher level. In his poetry, he wrote, "Stones fly like white snow, wood is carved like bamboo. If someone can master this, they will understand that calligraphy and painting are originally the same." Zhao Mengfu's painting philosophy fully inherited Su Shi's theory, which he put into practice in his own creations, opening the peak of Chinese literati painting and laying the foundation for later Yuan Dynasty's "Four Masters" and the great artists of the Ming and Qing Dynasties.
传统文人画创作，包含的主要部分为山水、人物、花卉，花卉则以梅、兰、竹、菊为主，南宋宗室赵孟坚，宋亡后隐居画兰以示清高，从此兰花被赋予忠贞的象征，画兰则成为历代文人画家所喜爱的题材。现藏北京故宫博物院的《墨兰图》是赵氏传藏有序的作品，斯图兰叶飘逸多姿，惠风摇曳之态，尽现赵氏书法用笔之妙，其行书笔意在挥写中呈现出生命的律动，起笔收放间表现出运笔变化的丰富性，微妙处正是书法用笔中的无意留痕。通过对作品的研究，无论兰花丛草还是款识书法，其笔意是一致的，而画面高度的统一，呈现出作品清逸俊秀之格。 The main themes of traditional literati painting include landscapes, figures, and flowers. Among flowers, plum blossoms, orchids, bamboo, and chrysanthemums are particularly prominent. During the Southern Song Dynasty, the imperial prince Zhao Mengjian secluded himself and painted orchids as a symbol of his integrity and purity. From then on, orchids were given the symbolic meaning of loyalty and faithfulness, and became a favorite subject of literati painters throughout the ages. The "Ink Orchid Picture" in the collection of the Beijing Palace Museum is a well-preserved work by Zhao Mengjian, with its elegant and graceful leaves swaying in the wind, fully demonstrating the masterful use of his calligraphy brushstrokes. His cursive script reveals the vitality of life through the rhythm of his brushwork, and his use of thick and thin strokes show the richness of variation in his brushwork. The subtlety of the brushwork lies in the unintentional traces left by the calligraphy brush. Through the study of this artwork, it can be seen that the brushwork of the grass and flowers, as well as the inscriptions, are consistent in style, resulting in a unified and elegant composition.
徐渭以写意花卉隆数百年之盛名，其笔墨形式于癫狂中尽现书法意趣，挥毫间楷、行、草三种书体并用，于横涂竖抹间淋漓尽致地发挥出书法在绘画中的奇妙作用。难以想象神鬼莫测般的线条变化，在徐渭许多作品中可以得到佐证，特别是《墨葡萄图》中的藤萝线条与款书笔迹，挥写自由与书写速度，笔迹的内在含蓄与外扬，笔锋弹性与虚实之间的变化，枯笔与湿墨，韵律与线条顿挫之节奏，行笔落墨处，无不尽现其生命情绪的转化，作品笔痕墨迹，无二致可分。 Xu Wei was renowned for his freehand flower and bird painting style that made him famous for hundreds of years after his time. His brushwork is characterized by a wild and uninhibited style that fully embodies the spirit of calligraphy. He used all three scripts - regular, running, and cursive - in his brushwork, and fully demonstrated the wonderful role of calligraphy in painting through his use of horizontal and vertical strokes. It is difficult to imagine the unpredictable changes in his brushstrokes, which can be seen in many of Xu Wei's works, particularly in the grapevine lines and inscriptions in "Ink Grapevine Picture." His brushwork is characterized by a sense of freedom and speed, and embodies the internal and external of calligraphy, as well as the changes in the elasticity and virtuality of the brush tip. The rhythm and cadence of the brush and ink, the transitions between the dry and wet brush, the rhythm and the texture of the strokes, and the of his emotions are all reflected in his brushwork, and the traces of the ink cannot be separated from the strokes of the brush.
Wu Changshuo was a master of poetry, calligraphy, painting, and seal engraving, and his artistic achievements had a far-reaching impact on the art scene of his time. Even today, he is still regarded as a model for those studying Chinese painting. In his youth, Wu devoted himself to studying inscriptions on ancient bronzes and stone steles, and achieved great success in this field. After turning 40, Wu began to focus on painting, and his brushwork was rich and full of spirit. He used his calligraphy brushstrokes to depict flowers and plants, creating the first new style of freehand painting since the late Qing Dynasty. Inheriting the legacy of the Qingting and Baiyang styles, his works are varied and delightful to the eye.
↑《圣寿万岁》吴昌硕 110x35cm 辽宁博物馆藏 "The Holy One can live forever",Wu Changshuo,110x35cm,Collection of Liaoning Museum "Ink Loquat Picture" was created using cursive calligraphy brushstrokes, with lively and natural strokes that give a sense of ease and relaxation. The lines and brushstrokes in the painting and the inscription are in perfect harmony, and are flexible and vivid. In particular, the outlines of the loquat branches and veins of the hibiscus leaves are drawn with the same strokes and lines as the calligraphy inscription, and although the strokes are thick and dry, they lack the sharpness and refinement of seal and clerical scripts. Nevertheless, they still embody the same brushwork spirit as the inscription.
↑《批把图》吴昌硕 112x35cm 上海博物馆藏 "Loquat Picture",Wu Changshuo,112x35cm,Collection of Shanghai Museum
梅花是吴昌硕常见作品，笔迹挥毫中纵横交错，老干苍枝，古拙遒劲，篆籀之笔尽显吴氏画迹与众不同，是纸《梅花图》所呈现的笔迹，挥写中的细节与款书线条律动，及每个字的结体处行笔一致，气息气象吻合，此图以行书化篆籀笔意，别开生面，于拙中求巧，是这件作品用笔的特点。 Plum blossoms are a common motif in Wu Changshuo's works. The brushstrokes in his plum blossom paintings are full of ups and downs, with old and rough branches displaying a sense of antiquity and strength. The brushwork style in his works is different from that of others, and it reflects the seal and clerical scripts. The strokes and lines in the painting are vividly depicted, and the brushwork details and the rhythm of the inscription strokes are consistent. The overall style is unique and skillful, as the brushwork in the painting combines the features of cursive and seal scripts. This is the characteristic of this painting that makes it stand out.
《珠光图》以草书写紫藤千变万化之态，笔墨飞舞，气象不凡，这幅作品中虽然落款字少，但仍然能从其中找到书法与藤萝墨迹之间的关系，不论是书法还是画迹，其内蕴与外象的生命本质是一致的，亦为心性所化。 The "Zhu Guang Tu" painting depicts the ever-changing form of the wisteria plant in cursive script, with dynamic and extraordinary brushstrokes. Although the inscription is minimal, the relationship between calligraphy and the brushwork of the wisteria can still be observed. The inner essence and outer appearance of both the calligraphy and painting embody the same life essence, which is transformed by the artist's state of mind.
↑《珠光图》吴昌硕 117x70cm 中国美术馆藏
线条是水墨画创作中的主要部分，线条的质量优劣在于书法用笔，这是不言而喻的。纵观历代名迹，特别是写意画其技法从未离开书法，由此可知书法在中国绘画中的重要性。 The Line is the foundation of Chinese ink painting, and the quality of the Line stems from the brush strokes of calligraphy. Throughout the history of famous works, especially in freehand brushwork paintings, their techniques have never been separated from calligraphy, indicating the paramount importance of calligraphy in Chinese painting.
↑《枯木竹石图卷》北宋 苏轼 纸本水墨 （画芯26.5x50.5cm） "Dry Wood Bamboo and Stone Map Volume",Northern Song Dynasty,Su Shi,paper ink,(picture core 26.5x50.5cm)
报告翻译Report Translator：David Wang ——（张继刚纽约华美协进社中国美术馆所作学术报告） “ 河 上 画 ” 中国花鸟画之道1368-1911 天津博物馆、常州博物馆藏珍选萃
Zhang Jigang and Professor Jiang Wenwei of Yale University
乔纳森·查维斯（乔治·华盛顿大学中国文学教授），海蔚蓝(华美协进社中国美术馆馆长)，张继刚 Jonathan Chaves (Professor of Chinese Literature, George Washington University)，willow weilan Hai（Curator of the China Institute Gallery in New York），Zhang Jigang
Zhang Jigang talks about the Bada Shanren 《The Painting of Flowers on the River》
Ming Wenzheng Ming "Ink Bamboo" 174X55.2cm
"Flower Scroll" by Chen Chun of the Ming Dynasty 32.5X503cm
"Flowers" by Yun Shouping of the Qing Dynasty 23.5X30.8cm
"The Painting of Ink Peony" by Shi Tao in the Qing Dynasty 105x39.5cm
"The Painting of White Peony" by Jiang Tingxi in the Qing Dynasty (16.5X47cm)
"Plum Blossom" by Luo Pin in the Qing Dynasty 17.2X21.8cm
 清 边寿民《花鸟画》22.5X32.5cm
"The Painting of Wonderful Fragrance on the Peak" by Zheng Banqiao in the Qing Dynasty 130.9X72.4cm 清 虚谷《佛手图》65x38cm
"The Painting of Red Plum" by Wu Changshuo of the Qing Dynasty 155X84cm
· END · 编辑 | 叶燃燃
张继刚 1966年生，字慎之、号知行，辽宁师范大学毕业，师从杨仁恺先生三十年。集目鉴、比较、分析、考订、心性学等综合学科，建立“书画鉴定与心性学”学理。古书画鉴定家，书画家、学者，当代文人画家之代表，倡导“文人画之士人精神”。涉猎文、史、哲、诗、词等，创建“云庐艺社”学术机构。专著先后由四川美术出版社出版《沐芦草堂丛稿》、西泠出版社出版《西泠问话》、安徽美术出版社出版《砚池滴音》、香港中文大学出版社出版《词画研究》及画集等多种，发表论文百余篇，作品被耶鲁大学、剑桥大学、巴黎大学、香港中文大学，陕西历史博物馆、四川博物院、海南博物馆、三峡博物馆等国内外博物馆收藏，并应邀个展。 2016年起成功的组织了中国古书画鉴定修复保护国际高峰论坛，创造性的将书画鉴定、修复、保护三个领域融为一体，开启了国际学术界之先河，推动了国际学术界于2017年成立了中国古书画鉴定修复与保护国际学术委员会。 现中国人民大学文献书画保护与鉴定研究中心副主任、教授，中国古书画鉴定修复与保护国际学术委员会主任、云庐艺社社长，享受国务院专家津贴。 Zhang Jigang:Born in 1966, he graduated from Liaoning Normal University and studied under the renowned Mr. Yang Renkai for 30 years. He has collected a wide range of disciplines such as review, comparison, analysis, examination, and psychology, and established the theory of "calligraphy and painting appraisal and psychology". He is an expert appraiser of ancient calligraphy and painting, a painting and calligraphy artist, a scholar, and has a deep knowledge of literature, history, philosophy, poetry, and lyrics. His monographs include "Mulu Thatched Cottage Series Manuscripts," published by Sichuan Fine Arts Publishing House, "Xiling Dialogue," published by Xiling Publishing House, "Inkstone Sound" published by Anhui Fine Arts Publishing House, "The Study of Poetry and Painting," published by Hong Kong Chinese University Press, and "The authentication of Calligraphy and Painting", "Bamboo Window Notes", "A Non-repetitive Sound", "Cloud Lyrics" and "Sleeping Crane Poems" published by China Book Company. He is an internationally renowned artist and scholar, with a vast collection of paintings and more than 100 published papers. His works have been collected by museums and galleries both domestically and abroad, and he has been invited to over 20 exhibitions in museums and art galleries around the world. He currently holds the position of deputy director and professor of the Research Center for the Protection and Identification of Literature, Calligraphy and Painting, Renmin University of China, director of the International Academic Committee for the Appraisal and Restoration and Protection of Chinese Ancient Calligraphy and Painting, and president of Yunlu Art Society, Enjoying The State Council expert allowance. · END · 云庐·九友‖张继刚——董其昌与南北宗论云庐·九友‖张继刚——文人画与江南云庐·九友‖张继刚——象思维与文人画之间关系云庐·九友‖张继刚——自然万象与生命心迹的契合云庐·九友‖张继刚——"西泠问话"之中国文化的形质 |
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